Assignment 1

PROGRAM
EVALUATION
Abstract:
Throughout this report, recommendations have been made to improve,

enhance, and evolve the Stage 4, music unit: “The Basic Elements of Music:
Structure, Texture and Dynamics and Expressive Techniques”. This unit was
provided by Gilroy Catholic College, a catholic school located in North-West
Sydney. Recommendations are based on evidence from literature that focuses
on teaching and learning strategies for students with learning disabilities. The
recommendations are based on the improvements of literacy, numeracy,
personal, and social capabilities using the Universal Design for Learning
(UDL) and Understanding by Design (UbD) frameworks.
This report further illustrates the implementation of contemporary teacher

leadership, specifically in the Music faculty. Contemporary teacher leadership
is an important part of improving personal teaching and learning through a
teachers’ praxis. Teachers need to understand how to learn, reflect, and
improve their units of work to ensure students have the ability to have
academic success.
Timothy Henderson 18804209
102089 Contemporary Teacher Leadership Assignment 1

Timothy Henderson 18804209 1
Table of Contents
Abstract: ................................................................................................................................... 0
Executive Summary: ................................................................................................................ 2
Objective and Context: ........................................................................................................ 2
Goals: .................................................................................................................................... 2
Recommendations: ............................................................................................................... 2
Part A: Comparative Table of Unit Alterations: .................................................................. 4
Part B: Contextual Redesigned Program Documentation: ................................................ 10
Unit Program: .................................................................................................................... 10
Scope and Sequence: .......................................................................................................... 17
Concept Map: ..................................................................................................................... 18
Assessment: Listening Task .............................................................................................. 19
Part C: Report of Recommendations:.................................................................................. 23
Reference List: ....................................................................................................................... 27
Appendix of Original Documents: ........................................................................................ 29
Unit Program: .................................................................................................................... 29
Scope and Sequence: .......................................................................................................... 52
Assessment: Listening Task .............................................................................................. 53

Executive Summary:
Objective and Context:

This report has been designed for the Music faculty of Gilroy Catholic College,
located in North-West Sydney, Castle Hill. The purpose of this report is to make
recommendations towards the Stage 4, Music unit: “The Basic Elements of Music: Structure,
Texture and Dynamics and Expressive Techniques” using the Universal Design for Learning
(UDL) (CAST, 2011) and Understanding by Design (UbD) (Wiggins & McTighe, 2005)
frameworks. The implementation of these frameworks will assist the Music faculty of Gilroy
Catholic College to redevelop their current unit to allow for students with learning disabilities
to thrive. This unit of work, previously to the amendments, does not sufficiently support these
students with learning disabilities, thus a change is needed.
Goals:
The recommendations of this report will aim to:
- Give further flexibility in informal classroom tasks and formal tasks.
- Increase literacy and numeracy engagement.
- Increase collaborative work skills for students.
- Amend the scope and sequence
- Creation of a concept map
Recommendations:
This report recommends:
- Giving flexibility in informal classroom tasks and formal task: creating an
environment where students are able to have a wider scope in completing tasks and
deepening their understanding through the UDL framework of learning (CAST,
2011).
- Increase literacy and numeracy engagement: improving the literacy by extending the
understanding of musical concepts such as key terms, definitions, expression of one’s
feelings towards the music, and their own understandings. Minimal numeracy
amendments will be made to the program, but as the teacher teaching the unit will
engage in numeracy with rhythm exercises when performing music
- Increase collaborative work skills for students: tasks that will allow students to
develop their social skills in means of completing class tasks. Providing the ability for
students to benefit off other students’ knowledge of the content.
- Amend the scope and sequence: Improvement of the original document by allow for
the outcomes of life skills students to be accounted for, with also the addition of
collaborative learning.
- Creation of a concept map: The creation of a concept map to support the other
original documents to become an essential part to the music faculties documents.
Part A: Comparative Table of Unit Alterations:

This comparative table was made to summarise what was done in great depth later in the report.
Comparative Table of Unit Alterations:

Original Unit information: Suggested Unit Alteration: Research and Theories to Support Change: Example in the Unit:
Throughout this unit, students, Alterations towards the unit will O’Brien (2007) examines the use of collaborative learning Original: Research Task
when completing tasks for allow students to engage in an for students with disabilities. O’Brien (2007) states that ● Research task: Extended
techniques
understanding and learning, are environment that they are able to using collaborative learning is viewed as a highly effective
● Select one instrument
mostly limited to individual work with peer collaboration or method for inclusion. Musser and Topping (2017) further ● Research how the
instrument is traditionally
tasks. Tasks are tailored to individually. Students will be support this by stating that, through their research, teachers played
● Find video evidence of at
allow students to work able to build social cohesion and view collaborative learning as a place for students to become least three extended
techniques for that
individually with minimal peer evaluation in each other’s more skilled in their understanding, respecting other views, instrument
● Write a description of how
collaboration with other work. Illustrating an and gain communicative/social awareness. As through the that technique is performed
● Present your findings at the
students. Individual work can environment that allows students Understanding by Design framework (UbD), as stated by end of the lesson
be a powerful tool for self- to learn and build together Wiggins and McTighe (2005), this will allow students to
Adjusted: Research Task
learning; however, collaboratively. understand further by implementing two facets of empathy
● Group Research task: Extended
collaboratively learning could and self-knowledge. Students will begin to grasp the techniques
concepts whilst perceiving sensitivity towards others due to In groups of 3-4
○ Select three/four
enhance the understanding for the use of collaborative learning (Wiggins & McTighe, instruments
○ Research how the
students. 2005). Through the Universal Design for Learning (UDL), instruments are
traditionally played
multiples means of engagement, and action and expression ○ Find video evidence of at
least two extended
are linked towards collaborative learning (CAST, 2011). techniques for those
instruments each
Students are enabled to learn how to self-regulate their ○ Write a description of how
those techniques are
learning with others, and specifically develop personal performed
○ Present your findings
coping skills (CAST, 2011). As for action and expression, during the process to the
group
students will be able to develop their expressive and
communicative skills as stated in the UDL framework
(CAST, 2011). The NSW Music Syllabus (Board of Studies,
2003) further states that students need to be able to work
collaboratively in the music setting. Therefore, noted
through research and the music syllabus, an interaction of
collaborative work is needed for students learning and
inclusion of students with disabilities.
Flexibility in classroom tasks Alterations towards the unit will Flexibility is the means of following a set goal and student Original: Smoke on the Water
and formal tasks are mostly allow students to have further achievement instead of the means of time constraints ● Create a Garageband cover of
Smoke on the Water:
limited throughout this flexibility when completing (Bargerhuff, 2013). Bargerhuff (2013) illustrates that ● Instruments: drums, bass
guitar, rhythm guitar, lead
program. Students are expected tasks. Students will have the accommodating to some students with modifications and guitar (8 bars only)
to complete the task to a ability to demonstrate their own flexibility enables the teacher to work around the barriers ● Change the key to G Major
certain extent without allowing understanding in a flexible time that the students might be facing. Kamboj and Singh (2015) ● Tab for the lead guitar - 0
3 5 - 0 3 6 5 - 0 3 5- 3 0 0
for leniency and with strict frame, which could evidently further illustrate that when teachers provide flexibility in
● Tab for the bass guitar
timelines. With also, the help other students their teaching, the more chances for learners to excel is (quaver pattern) - 0 0 0 0 -
0000-0000-0003
program determines that the understanding. Students will increased. Providing flexibility within the unit allows
● Each instrument track will
teacher decides on all examples also be able to demonstrate their students to develop skills in explaining and gain perspective need to be recorded
separately, including each
without allowing students to own examples to assist in deeper in other students work (Wiggins & McTighe, 2005). This is part of the drums. A
standard rock beat will be
demonstrate their own understanding. Students that also demonstrated a part of the six facets of understanding in the used. You may wish to
revisit rhythm squares.
understanding. fall under the Life Skill’s UdB framework (Wiggins & McTighe, 2005). Enabling the
category will be enabled to possibility to explain why they did the task in such a way to Adjusted: Smoke on the Water
complete the assessment task to others in their own words, with also seeing other points of ● Create a Garageband cover of
Smoke on the Water:
the best of their ability. view when they demonstrate their reasoning to completing
○ Instruments: drum kit of
the tasks, can provide assistance in their understanding their choosing, bass guitar,
rhythm instrument of their
(Wiggins & McTighe, 2005). In the UDL framework, choice, and lead guitar (at
least 8 bars in length)
flexibility will allow students to recruit interest with the
○ Change the key to G Major
ability to optimise individual choice and autonomy (CAST,
○ Tab for the lead guitar - 0
2011). Students will be able to create their own 3 5 - 0 3 6 5 - 0 3 5- 3 0 0
understandings in their own ways through the class task ○ Tab for the bass guitar
(quaver pattern) - 0 0 0 0 -
(CAST, 2011). NESA (n.d) explains that for Life Skills 0000-0000-0003
○ Each instrument track will

students should be given the opportunity in an assessment need to be recorded

separately, including each
task to reflect that student’s ability through planned part of the drums. A
standard rock beat will be
assessment events. used. Revisit rhythm
squares. Students are
allowed to choose their
own rhythms for the drums
and rhythm instrument.
Ensure students complete
this task before moving on.
Some literacy activities are Alterations in the unit will be Through the UDL framework, by providing literacy and Original: Instrument/Vocal Roles
implemented throughout this demonstrated to implement more numeracy improvements in the unit, it can develop the ● Introduce the concept of
instrumental roles (melody,
unit. Students have minimal literacy tasks. Students will students mind of representation (CAST, 2011). Providing harmony, rhythm, sound effects) in
music by watching the following
engagement with terminology engage in tasks that demonstrate options of language and symbols and comprehension skills videos:
of music, interaction with literacy expectations. Students can specifically allow for inclusion of all students (CAST, ○ 99 Red Balloons:
https://www.youtube.com/
describing terms, and writing will be able to build on there 2011). In terms of the UdB framework, improving literacy watch?v=aZND9dApFKU
down musical ideas in full already perceived ideas on and numeracy can assist students in the explaining of their ○ Supermario Theme Song
A Cappella Multitrack:
sentences. With numeracy, literacy and further establishing work and interpreting others’ work for their own use https://www.youtube.com/
watch?v=AVbPnDf3TIw
most of the numeracy these ideas. In terms of (Wiggins & McTighe, 2005). Improvements in the literacy
○ Circle of Life A Capella
accessibilities are there and is numeracy, a clearer expectation and numeracy aspects of the unit can also assist students Multitrack:
based on more of the teacher at of the teacher will be stated with their NAPLAN testing. Davies (2012) signifies that watch?v=s_um4Qj4aJA
the time of the lesson, assisting within the unit. many students with disabilities are not given the opportunity
Adjusted: Instrument/Vocal Roles
with rhythm work/timing to succeed in the NAPLAN testing. By providing this access
● Introduce the concept of
exercises. However, some to literacy and numeracy, students with disabilities will have instrumental roles (melody,
harmony, rhythm, sound effects) in
minimal additions were made the opportunity to participate in NAPLAN testing and music by watching the following
videos:
to assist in numeracy. overall, the opportunity to learn (Davies, 2012). Clary, Feez,
○ 99 Red Balloons:
Garvey, and Partridge (2015) support this access, https://www.youtube.com/
watch?v=aZND9dApFKU
specifically literacy, being able to address key aspects of
○ Supermario Theme Song
writing in the midst of a topic will enable a student to be A Cappella Multitrack:
assisted in writing extended responses and in other subjects. watch?v=AVbPnDf3TIw
The literacy and numeracy aspects are not just focused on ○ Circle of Life A Capella
Multitrack:
one subject and all subjects need to benefit each other with https://www.youtube.com/
watch?v=s_um4Qj4aJA
literacy and numeracy capabilities.
○ Students will write down
the four types of
instrument roles and
describe what their
purpose is in a piece of
music. Students need to
write in full complete
sentences and try use
music related terms to help
their definitions.
The unit provides a valid and Alterations will be made to the The NSW Education Standards Authority (NESA) has
strong scope and sequence for scope and sequence to advice on what is needed to be added in your scope and
the program. However, the demonstrate collaborative sequence document. NESA (n.d.) state that the scope and
scope and sequence are learning and the integrate of Life sequence should have any Life Skills outcomes when these
dedicated to the generalised Skill’s students in terms of students are integrated or taught concurrently in the
students, does not emphasise outcomes. classroom setting. Additionally, any additional information
collaborative learning, and based on common practice, in a particular subject, should be
does not allow for Life Skill’s included in this document (NESA, n.d.).
students.
The information provided from Alteration will be to include and Concept maps become a viable tool to benefit teachers.
the school had no concept map. create a concept map for this Vodovozov and Raud (2015) demonstrate that concept maps
The links for all the content unit. This will be made to allow teachers to promote the student’s comprehension of
was not specifically made to support the other files including the learning tools and deepen their understanding of the
benefit students understanding. the scope and sequence and unit content. Therefore, it is essential for the teacher to create
Therefore, a need of a concept program. concept maps of their unit program to assist the students in
map for this unit is to be creating a deeper understanding of the content provided.
created.
Part B: Contextual Redesigned Program Documentation:

Note: reconstructions were made to the unit program, scope and sequence, and assessment task. A concept map has been created as well to
support the unit program and scope and sequence. All changes that have been made to the program are in red.
Unit Program:
TEXTURE
Lesson 21
Introduction to Texture
● Students are to look up magnified images of the following objects: fabric, rocks, wood. Discuss what each of these objects have in
common.
● Create a collage of other magnified objects which also have this feature in common.
● Discuss the ways in which this activity and these common features relate to music.
● Watch and discuss the following video as an introduction to layers of sound:

https://drive.google.com/driv
■ Metronomy by JUL & MAT: https://www.youtube.com/watch?v=FqQi2EEx9QI e/folders/0B2zlZdayEf20Wm
FIQ0VIMmRDVUk?usp=sha
● Draw three contrasting images using various shapes. Each image will have shapes/lines layered on top of each other and will represent a ring
different texture type (monophonic, homophonic and polyphonic). Number each image. Students describe what each image may be
representing. It is not necessary to use musical terms, but students must write in full sentences. Consider drawing the following images:
○ Monophonic: a single line; several lines all moving in the same direction (a single melody) Teacher and students will be
able to select musical
○ Homophonic: several different lines/shapes all moving together (accompaniment) with a single line moving above (melody) examples for this task
○ Polyphonic: Several different lines/shapes moving in different directions at the same time (several melodic ideas)
○ When explaining different textures, ensure to state the number of parts that need to be done to make it that texture. Enforce
numeracy with simple counting of parts in this exercise
● Play musical examples representing each texture type. Play some examples of this then have students choose their own favourite songs.
In pairs, students will find examples of these texture types and as the students hear their example they will draw the image using
Notability. They will write down their example, draw their image and then identify which texture it was in a Google Doc collaborated file.
Lesson 22
Comparing Texture Types

Density refers to the ‘thickness’ of sound created by layers in a piece of music. When describing density, identify the thickness in the texture overall e/folders/0B2zlZdayEf20UU
and then in the specific sections of the piece of music. Students brainstorm synonyms for thick and thin. UtWnk2aXV2SUk?usp=shari
ng
● Watch and discuss Amazing 9 Layer Density Tower as an introduction to layer density: https://www.youtube.com/watch?v=-CDkJuo_LYs
● Watch and discuss graphic examples of polyphonic music.
○ So You Want To Write A Fugue: http://www.youtube.com/watch?v=U85-4EYgZk4

Students will need access to
○ The Fugue Explained: https://www.pinterest.com/pin/246572148324258023/ Garageband on their iPads
for this task
○ Fugue 20 in A Minor, Bach: https://www.youtube.com/watch?v=VXpgIsXCrfA
● Discuss some of the common features of polyphonic music i.e. staggered entry, imitation, call and response. Students will write down
definitions of these types of polyphonic music to help solidify the information. Students will then create graphic representations of layer
relationships using Garageband. Students should be using these elements in their polyphonic composition.
Lessons 23-24
Introduction to Rounds
● Commence discussion about the children’s song Row, Row, Row Your Boat. Discuss the primary features of this song. Select students to e/folders/0B2zlZdayEf20Qk
do a live demonstration of this song. Reinforce this information by showing students a live performance of Frere Jacques: RCc0RRNnVzcGM?usp=sh
https://www.youtube.com/watch?v=Pa2_oWshsRM aring
● Students describe the primary features of a round. Link to the study of texture.
● Students learn both Frere Jacques and Row, Row, Row Your Boat on guitar. Students will initially learn this individually then get into small
groups (minimum three students) and perform this piece as a round for the rest of the class to listen to. Students are to focus on timing in
terms of rhythm and entry of each part. Students will write down the timing of each entry and focus on when and where to enter in the
round, focusing on numeracy skills in rhythm.
Lesson 25
Instrument/Vocal Roles
● Introduce the concept of instrumental roles (melody, harmony, rhythm, sound effects) in music by watching the following videos: e/folders/0B2zlZdayEf20aVh
oYU5WR0lhbnc?usp=sharin
○ 99 Red Balloons: https://www.youtube.com/watch?v=aZND9dApFKU g
○ Supermario Theme Song A Cappella Multitrack: https://www.youtube.com/watch?v=AVbPnDf3TIw
○ Circle of Life A Capella Multitrack: https://www.youtube.com/watch?v=s_um4Qj4aJA
○ Students will write down the four types of instrument roles and describe what their purpose is in a piece of music. Students need
to write in full complete sentences and try use music related terms to help their definitions
● Create a Garageband cover of Smoke on the Water: Students will need access to
Garageband on their iPads
○ Instruments: drum kit of their choosing, bass guitar, rhythm instrument of their choice, and lead guitar (at least 8 bars in length) for this task
○ Change the key to G Major
○ Tab for the lead guitar - 0 3 5 - 0 3 6 5 - 0 3 5- 3 0 0
○ Tab for the bass guitar (quaver pattern) - 0 0 0 0 - 0 0 0 0 - 0 0 0 0 - 0 0 0 3
○ Each instrument track will need to be recorded separately, including each part of the drums. A standard rock beat will be used.
Revisit rhythm squares. Students are allowed to choose their own rhythms for the drums and rhythm instrument. Ensure students
complete this task before moving on. https://drive.google.com/driv
e/folders/0B2zlZdayEf20cm
Lessons 26 NZVUFyX08zeTQ?usp=shar
ing
● Listening Task for Texture. Teacher can select one of the listening tasks from the list below and formulate assessable questions based
on student ability
● Allow students to collaborate with the person next to them when they are formulating answers. Students need to focus on writing in full
sentences when the task allows for it and the use of musical terms to assist in their answers.
Lessons 27-29
Applying Polyphonic Principles https://drive.google.com/driv

e/folders/0B2zlZdayEf20RE
● Watch and discuss the musical features of The Hanging Tree from The Hunger Games: https://www.youtube.com/watch?v=r-Oi43EsQNU g5YW9ObkRnOXM?usp=sh
aring
● Students learn to play The Hanging Tree on guitar: https://tabs.ultimate-guitar.com/m/misc_soundtrack/the_hunger_games_mockingjay_-
_the_hanging_tree_tab.htm Students will need access to
Garageband for this task

● In groups of 2-3, students will create a short arrangement of The Hanging Tree, as a live guitar performance or recorded on Garageband,
applying the principles of polyphonic music i.e. staggered entry, imitation, call and response. Students need to revise their previous
definitions of polyphonic techniques to assist them in creating a live performance of one of them.
Lesson 30-31
Introduction to Dynamics
● Use the following activity as an introduction to Dynamics in music: Students will need access to
the internet for this task
● Find an article of your choice i.e. news, sports, commentary etc. Import the text into Notability. Highlight each sentence in a different colour
- red, orange, yellow, light blue, dark blue, green. These colours can be in any order.
● Put a legend up on the board i.e. red = very loud, orange = moderately loud etc. Students in pairs are to read out their article to their
partner using the colour coding as a guide to what volume their voice should be. Provide students with
coloured paper
● Students in pairs are provided with coloured paper that represented the key from before. Whilst the music is playing they are to hold up
what the dynamic they think it is to the rest of the class. The teacher may pause it every now and then to ask students the differences
between each dynamic. This will most likely link to texture types. Musical examples could include:
● It’s Oh So Quiet by Bjork https://drive.google.com/driv

● Overture to the Marriage of Figaro by Mozart e/folders/0B2zlZdayEf20ZnB
● In the Hall of the Mountain King by Grieg ZVm1ndHNZOW8?usp=shar
● Bolero by Ravel ing
● Also Sprach Zarathustra by Strauss
● Symphony No. 5 (1st mvt.) by Beethoven
● The following videos could also be shown to reiterate content taught in this unit:
● The Muppet Show: Rowlf - Beethoven's "Pathétique" (Reprise):

https://www.youtube.com/watch?v=t9ApIbDlk9Y
● Sesame Street - Ernie and Bert sing "Loud and Soft": https://www.youtube.com/watch?v=oVlnLWiSGp8
● Write table of dynamic symbols and terms into books. Discuss the purpose of dynamics in music. Link to the other ways that interest can Students will need access to
be created in a piece of music i.e. expressive techniques. Repeat the same activity as before, but instead of coloured paper, students are previous guitar pieces
to write down the transitions of dynamics with the proper musical terms. This activity can be individually or collaboratively with others.
● Students select one or two of the guitar pieces which they have worked on over the course of the term e.g. The Hanging Tree, Frere https://drive.google.com/driv
Jacques, Ode to Joy etc. Students will upload the PDF of the TAB into Notability. Using the highlight function, students will colour code the e/folders/0B2zlZdayEf20em
TAB to indicate different dynamic levels. Students will perform and record themselves playing their chosen piece with the adjusted RIdWNPejJaODg?usp=shari
dynamic levels. If students want, they can work in pairs. ng
● Complete Listening Task for Dynamics and Expressive Techniques. Teacher can select one of the listening tasks from the list below and
formulate assessable questions based on student ability

● Allow students to collaborate with the person next to them when they are formulating answers. Students need to focus on writing in full
sentences when the task allows for it and the use of musical terms to assist in their answers.
Lesson 32 https://drive.google.com/driv
e/folders/0B2zlZdayEf20VzZ
Introduction to Expressive Techniques 0ZXRnMVh0czg?usp=sharin
g
● Watch and discuss the following videos as an introduction to the common expressive techniques of vocalists in different styles:
○ Katy Perry, Dark Horse - Ten Second Songs 20 Style Cover: https://www.youtube.com/watch?v=jus7S5vBJyU.
○ The Evolution of Music by Pentatonix to show how vocal styles have evolved over time:
https://www.youtube.com/watch?v=lExW80sXsHs
○ Kristin Chenoweth The Girl in 14G to illustrate different vocal styles: https://www.youtube.com/watch?v=jBJn4BHtqqY
○ Vocal beatboxing: https://www.youtube.com/watch?v=LeBiXBic3sE
● Watch the following videos as an introduction to the expressive techniques of other instruments:
○ Beatboxing flute: https://www.youtube.com/watch?v=59ZX5qdIEB0

○ Rare guitar techniques: https://www.youtube.com/watch?v=hBZxJOHTSR4
○ Watch and discuss the techniques used in Invisibility by Liza Lim: http://vimeo.com/13411678 Students will need access to
the internet for this task
● What is an extended technique? Discuss the purpose of extended techniques and their function in music. Students are to write down in full
and complete sentences.
● Ask the students if they know of any expressive techniques that they would like to explain to the group. If you can find a YouTube video of
the example, show the class.
● Group Research task: Extended techniques
In groups of 3-4
○ Select three/four instruments e/folders/0B2zlZdayEf20dlVt
○ Research how the instruments are traditionally played RGx1eUkyT1k?usp=sharing
○ Find video evidence of at least two extended techniques for those instruments each
○ Write a description of how those techniques are performed
○ Present your findings during the process to the group
○ Provide as much time needed to complete this task to make sure all students have a deep understanding
Lesson 33
The Purpose of Music in Films
● Recognise famous movie themes using this quiz: https://www.youtube.com/watch?v=0di9tiulb4Q
● Discuss how film themes are recognised and how they relate to what the film is about and the character which the theme is representing.
Discuss the importance of music in films.
Students will need access to
● Watch the below scenes with and without music. Discuss the overall effect (with/without music) and how the scene is impacted. the internet for this task
● Star Wars - The Throne Room:
○ With music: https://www.youtube.com/watch?v=yixG8pfncOs

○ Without music: https://www.youtube.com/watch?v=Tj-GZJhfBmI
● Jaws - Capture Scene: With and without music: https://www.youtube.com/watch?v=Ae1Z_fWDZ7s

● Students find their own film scene/trailer. Students will mute all sounds and then this trailer to a friend (preferably one who has never seen
the scene/trailer before). Each student should comment on the effectiveness of the scene/trailer with and without music. This should be
done in the form of two paragraphs.
Lesson 34 e/folders/0B2zlZdayEf20dm
poYjVvTWZQd0E?usp=shari
The Emotional Impact of Music in Films ng
● Watch the following film scenes and discuss the effect emotional impact of each. Different genres of music will be with the same scene.
Discuss how the overall mood of the scene is affected as the music changes. Discuss the impact that this has on the audience.
○ Pirates of the Caribbean - Boat Scene: https://www.youtube.com/watch?v=rn9V0cN4NWs
○ Lost In Translation:
○ Scene 1: https://www.youtube.com/watch?v=8mdmXFGBqfM
○ Scene 2: https://www.youtube.com/watch?v=b7yq5llId34
○ Scene 3: https://www.youtube.com/watch?v=yDR15qfJW-c Students will need access to
○ Scene 4: https://www.youtube.com/watch?v=lIZiWhAWxfM Garageband on their iPads
for this task.
○ Star Wars Without John Williams: https://www.youtube.com/watch?v=BmVPzlae2io
○ How Music Can Change the Emotion of A Scene - Fight Scene from 300: https://www.youtube.com/watch?v=sCum3BL3ipA
● Students will choose one of the videos above to change the emotional effect of the scene. Students will use Smart Strings in Garageband
to create different emotional undertones for each scene as it is repeated. Students will write an analysis on the effectiveness of music in
different scenes. This can be done in pairs or individually. Students will focus on full sentences when writing down their analysis
e/folders/0B2zlZdayEf20OE
Lesson 35 dyLTVFZUpOTVE?usp=shar
ing
● Discuss the musical features, similarities and differences of the following trailers which have been recut to fit the characteristics of a
particular genre:
○ Elf Recut As A Thriller: https://www.youtube.com/watch?v=EkwdYSn3Uws Students will need the

internet or access to their
○ If Frozen Was A Horror Film: https://www.youtube.com/watch?v=9eD2UpdhbwA own music for this task
○ If Zootopia Was A Horror Film: https://www.youtube.com/watch?v=aSBP0I1bENo
● As an exercise, ask students in pairs are to select their own scenes of their choosing and mute all the sounds on that scene. The students
will then place any type of music of their choosing to place over the top of the muted scene and evaluate as a pair the effects of the
changes on the scene.
○ The Birds (Final Attack Sequence) http://www.youtube.com/watch?v=Lw0FP9putKM
○ Charlie Chaplin (The Lion’s Cage)

http://www.youtube.com/watch?v=79i84xYelZI
○ The Truth About Mother (Psycho)

https://www.youtube.com/watch?v=xWHYmNrAFlI
Scope and Sequence:
Year 8 Music Scope and Sequence 2017
TERM 2 Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
2017
Topic Texture & Dynamics and Expressive Techniques
Key Content Texture results from the way voices and/or instruments are combined in music. Dynamics refer to the volume of
Ideas sound. Important aspects include the relative softness and loudness of sound, change of loudness (contrast), and the
emphasis on individual sounds (accent). Expressive techniques refer to the musical detail that articulates a style or
interpretation of a style.
Upon completing this unit, students will be able to:
Identify different layers of sound and their function in music

Discuss roles of instruments and the use of texture in various musical examples
Recognise homophonic, monophonic and polyphonic textures in a variety of musical contexts
Identify and discuss the role of music in films
Identify and discuss the purpose of sound effects in films
A range of dynamics, including gradations and articulations
Gradations of tempo used for expressive effect, for example, rubato
Stylistic indications
Collaborative with other students in the musical context to gain a further understanding
Outcomes 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10, LS.4, LS.6, LS.8, LS.9, LS.10
Assessment Performance/Composition (Week 9, Term 1), Listening Task (Week 4, Term 2)
8MU101, 8MU103: Monday 27th March - 8MU102: Tuesday 28th March - 8MU104, 8MU105: Wednesday 29th March
Assessment 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.10
Outcomes
Concept Map:
Assessment: Listening Task
Amendments were made to the assessment to cater for Life Skill Students. These
amendments were just adaptions and simplifications of the original listening task assessment.
Life Skills: Year 8 Music Assessment Task 1: Listening Test
Excerpt 1: An excerpt from Main Title from the film Out of Africa by John Williams will played FIVE
times for you to complete your answer.
Time: First playing - short pause

Second playing - 30 second pause
Third playing - 1 minute pause
Fourth playing - 2 minute pause
Fifth playing - 2 minute pause
1. Which instrument stands out in first section of the excerpt? (1 mark)
_________________________________________________________________________________
2. A family of instruments took over in standing out. Name this family. (1 mark)
_________________________________________________________________________________
3. How do you feel when you are listening to this piece of music? List three reasons why you think
this. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
4. How fast or slow do you think this piece of music is? Why? (2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
5. Does the speed change during the piece? If so, how does it happen? (2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
END EXCERPT 1
Excerpt 2: An excerpt from Waltzing Matilda from the film Australia by Ophelia of the Spirits will
played FIVE times for you to complete your answer.

1. Name the instrument family that plays at the start. (1 marks)
_________________________________________________________________________________
2. How would you describe the way the vocalist is singing during this song? (2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
3. When the strings enter, are they in back, midground or in front? (1 mark)
_________________________________________________________________________________
_________________________________________________________________________________
4. Why do you think this excerpt is interesting? Identify three points in the music that you found
interesting. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
END EXCERPT 2
Excerpt 3: An excerpt from Toy Town from the IMAX film Imagine by Nigel Westlake will be played
SIX times for you to complete your answer.

Sixth playing - 2 minute pause
1. Use letters and numbers to identify the structure of this excerpt. (2 marks)
_________________________________________________________________________________
2. There are two instrument families which take turns at playing the main part. Name these two
families. (1 mark)
_________________________________________________________________________________
3. Name the instruments in the order that you hear them in this excerpt.
(2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
4. Does anything repeat in this excerpt? If so, describe what you hear. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
5. Choose one instrument that you can hear in this excerpt. Highlight three tone colour words below
(adjectives) to describe the sound of the instrument. (3 marks)
Instrument you choose:_____________________________________________________________
Brassy Rough Bright
Hollow Soft Screechy
Metal Dark Thick
Woody Clean Thin
Reedy Muddy
6. How do you feel when you listen to this excerpt? List three reasons why you think this. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
END EXCERPT 3
Part C: Report of Recommendations:
The original program, whilst demonstrating a very effective program in achieving

outcomes for the average student, does not meet the needs of students with disabilities. The
amendments that were made were not to hinder the previous program, but instead increase the
accessibility for all students. By using the Universal Design for Learning (UDL) framework,
stated by CAST (2011), and the Understanding by Design (UbD) framework, illustrated by
Wiggins and McTighe (2005), an evaluation of the program can be achieved to provide
between learning opportunities for students with disabilities. Providing the changes in this
program will allow for students to engage in music education, give all students the ability to
move into the sub-sequential elective classes, and give students a chance in the NAPLAN
testing. Within the very limited program, due to being taught over a short period, additions can
be made to benefit the literacy, numeracy, personal and social capabilities of all students, with
specific focus on students with disabilities. These amendments are a specific focus on the
nature of creating a collaborative environment, flexibility within class tasks, and improvements
to the literacy and numeracy accesses through the unit.
Firstly, the unit has been amended to allow for more collaborative and group work
settings in tasks. Moore and Kearsley (2012, p. 305, as cited in Robinson, Kilgore & Warren,
2017) state that in a collaborative learning environment “…individual learners support and add
an emerging pool of knowledge of a group; emphasizes peer relationships as learners work
together creating learning communities”. O’Brien (2007) further supports this statement by
illustrating that collaborative learning is specifically strong in providing an inclusive
environment for all students. Therefore, providing a collaborative environment within learning
tasks can demonstrate stronger learning outcomes for all students, including students with
disabilities. Musset and Topping (2017), demonstrates that the teachers’ views on collaborative
learning illustrated students becoming more skilled, responding to other views, and good
communicative/social awareness was developed. Therefore, it is noted that collaborative
learning clearly provides a means of inclusion. Collaborative learning can also enhance
knowledge and peer relationships can develop further, creating deeper understanding of the
content. In the Udb framework, collaborative learning can benefit this unit program also.
Through the UdB framework, the means of collaborative learning allows for students
to grasp musical concepts whilst perceiving sensitivity towards others (Wiggins & McTighe,
2012). In UdB framework, with also sensitivity, the growth in meta-cognitive awareness due
to the use of collaborative learning, can also be established (Wiggins & McTighe, 2012). This
is supported by the UDL framework by providing all students with specifically multiple means
of engagement. Students are enabled to learn how to self-regulate their learning with others,
and specifically develop personal coping skills (CAST, 2011). The NSW Music Syllabus
(Board of Studies, 2003) explicitly states that students need to work collaboratively in the
music setting to engage and experience the musical context. Therefore, by providing a
collaborative learning environment, students can develop sensitivity to others, learn deeper,
self-regulate their own learning, and be able to meet the Music syllabus requirements.
Secondly, the program was adapted to allow students to have more flexibility and
creativity in their outputs in the tasks. Whilst completing tasks is important, allowing students
have the ability to show their own understandings is just as important. Kamboj and Singh
(2015) when a teacher provides flexibility in the classroom with a variety of tasks, styles and
approaches, this provides learners/students with multiples areas to succeed in their learning.
Through the six facets of learning in the UdB framework, by providing flexibility and creativity
in students understanding can develop abilities such as being able to explain their ideas and
respectfully listen to other perspectives in the classroom (Wiggins & McTighe, 2012). Students
will gain an understanding of how to explain themselves to others when demonstrating their
own understanding of the content, but also have an acceptance of other perspective, which in
turn could provide deeper understanding. NESA (n.d) further explains, in assessment tasks,
that for Life Skills students should be given the opportunity to reflect the student’s ability
through planned assessment events.
With the following of flexibility, understanding that student achievement and goal
setting is more important than providing time constraints is needed to be had (Bargerhuff,
2013). Bargerhuff (2013), further illustrates that accommodating students with flexibility
enables a teacher to work through barriers students might be facing in their learning. Evidently,
by working through these barriers as a teacher, a development in the students’ understanding
overall in the content can be illustrated. By the means of the UDL framework, students will be
able to create the ability to recruit their own interests by having their own individual choice
and autonomy due to the flexible nature of the tasks (CAST, 2011). Rief (1990) supports the
use of flexibility in classroom tasks due to the effect it has on students. When given the time
to think, understand what they are doing, and given choices in what to do, students will be
enriched with the power of being independent learners and be able to evaluate their own
learning (Rief, 1990). Therefore, by giving flexibility in the learning, students will be able to
understand the content, rather than just meet the requirements as based on the syllabus
requirements.
Finally, the additions that were also changed in the unit program were minimal changes
to the literacy and numeracy aspects. These aspects were already shown in great depth;
however, the further adaptions will significantly benefit the students even greater. The main
amendments were to allow for more explicit literacy skills to be focused on. Through the UDL
framework, providing extensive use of literacy and comprehension skills this can allow for an
inclusive environment (CAST, 2011). This is due to the ability of developing the students
minds in the form of representation, being able to explicitly state what they mean in a
satisfactory manner (CAST, 2011). The UdB framework supports this amendment by saying
that a need to provide students with the possibility to explain their own work and interpret data
for their own use (Wiggins & McTighe, 2005). Therefore, when providing more access to
literacy and numeracy capabilities, this can assist in students to explain and interpret their work
or others work and engage in a deeper understanding on the overall content. Furthermore,
literacy and numeracy should not be a single subject focus and that all subjects should focus
on these basic fundamentals to enhance all student’s basic capabilities.
When providing more possibilities to improve the student’s literacy and numeracy
skills, it influences their abilities in the mandatory NAPLAN testing. Davies (2012) signifies
that when students with disabilities are provided the access to literacy and numeracy skills,
they will have the opportunity to participate and succeed in the mandatory NAPLAN test.
Clary, Feez, Garvey, and Partridge (2015) further support the access of specifically literacy for
students with disabilities. They state that by being able to address key aspects of writing in the
midst of a topic will enable a student to be assisted in writing extended response or sophistically
illustrating their points (Clary et al., 2015). Therefore, it is noted that the amendments were
made as all subjects need to focus on basic literacy and numeracy capabilities to further benefit
students with disabilities to allow full accessibility in the NAPLAN mandatory testing.
Amendments to the scope and sequence, with also the creation of a concept map, were
implemented to create a better cohesion with the other documents. In terms of the scope and
sequence, adding the Life Skills outcomes, additionally with the collaborative learning dot
point, were essential in linking with the unit program. NESA (n.d.) state that Life Skills
outcomes need to be included in the scope and sequence if these students are integrated or
taught concurrently in the classroom. Furthermore, NESA (n.d.) also illustrate that if there is
any additional information based on common practice in the particular subject, collaborative
learning in music, should be added to the scope and sequence. The concept map creation was
also done due to the specific benefit this can have for teachers. Vodovozov and Raud (2015)
demonstrate that when a teacher uses this as a tool, like in their unit program, it can benefit
students in creating a deeper understanding of the content. Therefore, with these amendments
and creation, students within this unit can benefit overall. The acknowledgement of Life Skill’s
students, with also the concept map, can assist the teacher in creating deeper understandings
for all students in their classroom.
In conclusion, these amendments and changes that were made to the unit program were
not to shut down the other teachers’ program, but more to enhance the program to further
benefit students with disabilities. Collaborative learning has been seen to assist students with
disabilities to learn the content at the same rate or similar rate as students without disabilities.
They are able to learn how to decipher correct and valuable information with other students.
Furthermore, when providing more flexibility and focusing less on time constraints but more
on understanding, students have more opportunities to understand the content. When giving
the time to students, allows students to make their own assumptions or have them create and
explain their own understandings, students’ knowledge can deepen. Therefore, when providing
flexibility will allow students to understanding rather than just trying to ‘remember’. Finally,
when providing more opportunities in literacy and numeracy aspects, all students can benefit
greatly. As students are expected to complete the mandatory NAPLAN testing, students must
be able to understand how to use literacy and numeracy to the best of their abilities. Whilst it
is great for the NAPLAN testing, it also benefits students to be able to explain and interpret
others’ works and their own work to gain a wider understanding of the content. Therefore,
these amendments were made to allow for the program to further benefit students with
disabilities. This evaluation was not made to hinder the previous work but rather enhance the
social, personal, literacy, and numeracy capabilities for all students including students with
disabilities.
Reference List:
Bargerhuff, M. E. (2013). Meeting the Needs of Students with Disabilities in a Stem

School. American Secondary Education, 41(3), 3-20.
Board of Studies NSW. (2003). 7-10 Music. Retrieved from

https://www.boardofstudies.nsw.edu.au/syllabus_sc/pdf_doc/music_710_syllabus.pdf
CAST. (2011). The UDL Guidelines. Retrieved 5 April 2018, from

http://udlguidelines.cast.org/?utm_medium=web&utm_campaign=none&utm_source=cas
t-about-udl
Clary, D., Feez, S., Garvey, A., & Partridge, R. (2015). FROM LITTLE THINGS BIG
THINGS GROW: ENHANCING LITERACY LEARNING FOR SECONDARY
STUDENTS IN RURAL AND REGIONAL AUSTRALIA. Australian & International
Journal of Rural Education, 25(1), 24-36
O'Brien, C. (2007). Using Collaborative Reading Groups to Accommodate Diverse Learning

and Behavior Needs in the General Education Classroom. Beyond Behavior, 16(3), 7-15.
Davies, M. (2012). Accessibility to NAPLAN Assessments for Students With Disabilities: A

‘Fair Go’. Australasian Journal Of Special Education, 36(01), 62-78.
http://dx.doi.org/10.1017/jse.2012.7
Kamboj, P., & Singh, S. (2015). Effectiveness of Selected Teaching Strategies in Relation to
the Learning Styles of Secondary School Students in India. Interchange, 46(3), 289-312.
http://dx.doi.org/10.1007/s10780-015-9253-7
McTighe, J., & Wiggins, G. (2012). Understanding by Design Framework. ASCD. Retrieved
from https://www.ascd.org/ASCD/pdf/siteASCD/publications/UbD_WhitePaper0312.pdf
Musset, M., & Topping, K. (2017). Video interaction guidance in collaborative group work:
impact on primary school pupils’ self-esteem and behaviours. Educational
Psychology, 37(9), 1067-1081. http://dx.doi.org/10.1080/01443410.2017.1342768
NSW Education Standards Authority (NESA). (n.d.). Advice on scope and sequence.
Retrieved from https://syllabus.nesa.nsw.edu.au/support-materials/scope-and-sequence-
plans/
NSW Education Standards Authority (NESA). English K–10 :: Years 7–10 Life Skills
advice. Syllabus.nesa.nsw.edu.au. Retrieved from
https://syllabus.nesa.nsw.edu.au/english/english-k10/years-710-life-skills/
Rief, L. (1990). Finding the Value in Evaluation: Self-Assessment in a Middle School

Classroom. Educational Leadership, 47(6), 24
Robinson, H. A., Kilgore, W., & Warren, S. J. (2017). Care, Communication, Learner
Support: Designing Meaningful Online Collaborative Learning. Online Learning, 21(4),
29-52.
Vodovozov, V., & Raud, Z. (2015). Concept Maps for Teaching, Learning, and Assessment
in Electronics. Education Research International, 2015, 1-9.
http://dx.doi.org/10.1155/2015/849678
Appendix of Original Documents:
Unit Program:
Highlighted area is the program that has been redesigned
Subject: Music (Mandatory) Year: 8 Topic: Term(s): 1-2 / Indicative Time:

Stage: 4 The Basic Elements of Music: Structure, Texture and 3-4 10-11 weeks each term
Dynamics and Expressive Techniques 2017
Rationale: Students should be able to manipulate and discuss the following aspects of Structure, Texture and Dynamics and Expressive Techniques as relevant to the music studied.
Structure Texture and Dynamics and Expressive Techniques
Structure refers to the idea of design or form in music. In organising sound the Texture results from the way voices and/or instruments are combined in music. Dynamics refer to the volume of sound.
concepts of duration, dynamics, pitch and tone colour are combined in some way for a Important aspects include the relative softness and loudness of sound, change of loudness (contrast), and the emphasis on
particular purpose. Structure relates to the ways in which music sounds the same (or individual sounds (accent). Expressive techniques refer to the musical detail that articulates a style or interpretation of a style.
similar) and/or different.
 Identify different layers of sound and their function in music

 Recognise different terms used to identify structure within music, including  Discuss roles of instruments and the use of texture in various musical examples
theme, motif, phrase, sequence, riff, repetition, ostinato, unity, contrast.
 Recognise homophonic, monophonic and polyphonic textures in a variety of musical contexts
 Identify key forms used in music, including rock/pop song form, 12 bar blues,
theme and variations, binary, ternary, rondo, additive, strophic and through
 Identify and discuss the role of music in films
composed forms.  Identify and discuss the purpose of sound effects in films
 Identify and analyse excerpts of music from different musical styles that are  A range of dynamics, including gradations and articulations
representative of these different musical structures.  Gradations of tempo used for expressive effect and stylistic indications
 Identify, discuss and compose themes and motifs with a particular focus on
those presented in the music of television and films
Unit Outcomes:
A student:
4.1 performs in a range of musical styles demonstrating an understanding of musical concepts

4.2 performs music using different forms of notation and different types of technology across a broad range of musical styles
4.3 performs music demonstrating solo and/or ensemble awareness
4.4 demonstrates an understanding of musical concepts through exploring, experimenting, improvising, organising, arranging and composing
4.5 notates compositions using traditional and/or non-traditional notation
4.6 experiments with different forms of technology in the composition process
4.7 demonstrates an understanding of the musical concepts through listening, observing, responding, discriminating, analysing, discussing and recording musical ideas
4.8 demonstrates an understanding of musical concepts through aural identification and discussion of the features of a range of repertoire
4.9 demonstrates musical literacy through the use of notation, terminology, and the reading and interpreting of scores used in the music selected for study
4.10 identifies the use of technology in the music selected for study, appropriate to the musical context
4.11 demonstrates an appreciation, tolerance and respect of the aesthetic value of music as an art form
4.12 demonstrate a developing confidence and willingness to engage in performing, composing and listening experiences
Assessment: Task 1, Performance/Composition(100%) Outcomes: 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.10
Duet Date(s): Week 9, Term 1 - 8MU101, 8MU103: Monday 27th March - 8MU102: Tuesday 28th March - 8MU104, 8MU105: Wednesday 29th March
Week 9, Term 3 - 8MU101, 8MU103: Monday 11th September - 8MU102: Tuesday 12th September - 8MU104, 8MU105: Wednesday 13th September
Learning Focus The Basic Elements of Music: Structure/Texture/Dynamics and Expressive Techniques
Learn About: Learn To: Suggested Learning Experience Resources: Registration
Lesson 1
Introduction to Structure
● First lesson (special arrangements, expectations, seating plan, use of iPads etc.)
● Go around the classroom with a box which is filled with playing cards, paddle pop Teacher to provide
sticks, wooden blocks etc. Ask students to build some type of structure using these box of objects
objects. The aim of the task is for students to build the tallest structure that they can
without it falling down. Students can select as many objects as they like from the box.
Once students have completed the task, discuss the more successful structures.
● Brainstorm different words for ‘structure’. Brainstorm objects, foods, buildings etc
which follow a particular structure
● Discussion: In what ways does our discussion of structure relate to music?
respond to the range of responding to and ● Teaching musical structure through dance:
repertoire used for discussing the varying

listening repertoire used in class ○ Call upon two volunteers to stand at the front of the room. Each volunteer will
and in the world of need to have a ‘signature dance move’. One volunteer will be ‘A’, the other will
music be ‘B’. Students to dance in order when their letter is called out.
○ Call upon another volunteer, who will be a repeat of ‘A’. Place this student
after ‘B’. Students to dance in order when their letter is called out.
○ Call upon another volunteer to introduce a new ‘signature dance move’. This
volunteer will be ‘C’.
○ Continue adjusting the order and adding new volunteers.
● Students should identify that there are three main dance moves used, and therefore Teacher may select
three different sections. Each time a new dance move is introduced, a new letter is to play an example of
used. If a dance move is repeated, the same letter is used. If a dance move is varied The Chicken Dance
slightly, a number is added to the letter to indicate the variation i.e. A1. Link to The
Chicken Dance, where each dance move is represented by a different musical idea.
What is Structure in Music?
Structure is also called form. It refers to how a piece is constructed, and how it is divided into
sections or parts. It’s easy to distinguish between different sections when a piece of music has
lyrics. However, when a piece of music does not have lyrics, letters are used to tell different
sections apart.
How do you know when a new section starts?
● SAME: Listen for something new: a new melody, a new instrument, a new rhythm etc.
● SIMILAR: Listen for an adaption of the original melody: the original melody could
played on a different instrument, with more/less instruments
● DIFFERENT: Listen for changes: changes in tempo, a change in time signature,

changes in instruments, changes in the key, or listen for pauses: sometimes there is a
pause or brief silence before a new section starts.
listen to and analyse a aurally exploring music
range of repertoire of various styles, Structure Cards: Teacher will need to
periods and genres print and laminate
● Hand students Structure Cards. Briefly explain the meaning of each letter/term. These structure cards for
identify how concepts listening activities should be completed before formal terms are introduced. student use:
identifying, of music have been https://drive.google.co
understanding and used and manipulated ● Each student will receive a small pack of Structure Cards. Each card has either a letter m/drive/folders/0B2zl
describing how the in a range of repertoire or a term. Link the letters to earlier activities. Terms such as ‘coda’ and ‘bridge’ will ZdayEf20LVZvZHh0U
concepts of music have need to be explained. Musical examples may be added/eliminated as students’ 2lha28?usp=sharing
been used and understanding develops.
manipulated responding to and Teacher can select
discussing the varying ● Students will arrange the cards in the order which they feel the various sections occur. own musical
respond to the range of repertoire used in class There will be many more cards than there will be sections, so students will really have examples for this
repertoire used for and in the world of to make careful choices. task.
listening music
Lesson 2
understanding various perform music that uses
forms of musical different forms of Introduction to Guitar https://drive.google.co
notation used in the musical notation and m/drive/folders/0B2zl
repertoire studied technologies ● What is tablature and how do you read it? Guide students through each of the guitar ZdayEf20Q3FISVM0e
pieces. Introduce Part A of Assessment Task 1. Each short piece will be assessable. EE4SGM?usp=sharin
Students will work through these pieces as the term progresses. Pieces should be g
learnt in conjunction with the study of different musical structures.
Lesson 3
identifying, identify how concepts
understanding and of music have been Formal Musical Structures
describing how the used and manipulated
concepts of music have in a range of repertoire The following musical terms can be introduced through listening activities using Structure Cards,
been used and through informal composition activities, or as students are learning their assessment pieces on Teacher to provide
manipulated guitar: musical examples
● Binary Form
A piece with two main sections, called Section A and Section B. The musical material from
Section A does not appear in Section B. The two sections are different e.g. Jingle Bells, The
Chicken Dance and Yankee Doodle.
● Ternary Form
A piece with three sections, Section A, Section B, then a return to Section A. Sometimes there
may be slight changes to Section A when it returns but it is still recognisable e.g. Ode to Joy.
● Rondo Form
A piece with many sections. It starts with a main theme or statement in Section A, followed by a
new section, then a repeat of Section A, then a new section, repeat of Section A, and so on e.g.
Rondo Alla Turca.
Introduction to Garageband
creating simple organise musical ideas
compositions both into simple ● Give a brief demonstration of how Garageband works. Students will complete a
individually and in compositions both composition in Binary Form. Demonstrate to students how compositions on Students will need
groups individually and in Garageband need to be musically coherent and interesting, while clearly showing an access to
groups overall structure, i.e. using common musical elements to link different sections of the Garageband on their
composition. The following guides may be used: iPads
notating compositions explore forms of
using various forms of musical notation, ○ http://www.midnightmusic.com.au/wp-content/uploads/2013/08/GarageBand-
traditional and non- including computer- for-iPad-2013.pdf
traditional notation based applications, as a
method of recording ○ http://midnightmusic.com.au/?s=garageband
their own musical ideas
Lesson 4-5
understanding and of music have been Rondo Form
describing how the used and manipulated
concepts of music have in a range of repertoire ● Introduce students to the concept of Rondo form (ABACA). Watch All About Rondo
been used and Form: http://www.youtube.com/watch?v=9vANXiGa3mU. A link could also be drawn by https://drive.google.co
manipulated showing students the following image: m/drive/folders/0B2zl
http://musicaldeli.iheartteachingmusic.com/images/rondo.jpg ZdayEf20NVBLb3Ew
TWpqems?usp=shari
● Use this video to inspire a similar activity: https://youtu.be/cWRGafkyvqk. Students are ng
encouraged to come up with the movements for each section themselves. The version
of Take Five by the Late Lounge Players is the most suitable speed for this activity. The Resources for task
teacher can use tennis balls, hacky sacks, plastic cups etc. for this task.
experimenting and
improvising music experiment and ● Musical iPads: This activity is designed to reinforce students’ understanding of Rondo
representative of improvise both form. Students are to get into groups of three. Each composition will be 40 bars long. Students will need
various styles, periods individually and in access to
and genres groups using stimulus ○ Each initial student will commence by composing 8 bars in a style of their choice. Garageband on their
characteristic of the Students can include as many layers as they like. This will be the ‘A’ section. The initial iPads for this task
repertoire studied student must set the overall tone of the composition i.e. select the style, type of
creating simple instrumentation etc. The other students in the group will need to listen to and observe
compositions both organise musical ideas what has been composed and create their respective sections based on the initial ideas.
individually and in into simple
○ The initial student will then pass their ipad on to the next student in the group. This
groups compositions both
student will compose the ‘B’ section. This student is not allowed to adjust or change the
individually and in ‘A’ section, but must write their ‘B’ section to match the style and complexity of the ‘A’
groups section.
notating compositions
using various forms of explore forms of ○ The ipad is then passed back to the original student, who will copy and paste their ‘A’
traditional and non- musical notation, section, adding short transition sections where appropriate. This process is then
traditional notation including computer- followed for the next student who will be composing the ‘C’ section etc.
based applications, as a
○ The ipad is then passed back to the original student, who will copy and paste their ‘A’
method of recording
section, adding short transition sections where appropriate. It is the task of the initial
their own musical ideas student to make sure that each section transitions seamlessly into each other. The initial
student is not allowed to edit either the B or C sections. The initial student will submit
the task as their own composition.
○ Students are not allowed to speak to each other during this task. The teacher should
allow approximately 8-10 minutes for each swap.
Lessons 6-7
range of repertoire of various styles, Rock/Pop Song Form
periods and genres
● Watch and discuss the following videos as an introduction to popular music:
identify how concepts
identifying, of music have been ● An Evolution of Music: https://drive.google.co
understanding and used and manipulated https://www.youtube.com/watch?v=lExW80sXsHs m/drive/folders/0B2zl
describing how the in a range of repertoire ZdayEf20UTM2MmJ
concepts of music have ● An Abridged History of Western Music in 16 Genres: STkNma3c?usp=shar
been used and https://www.youtube.com/watch/?v=qOZb7KeJUQ8 ing
manipulated responding to and
discussing the varying ● The History of Lyrics That Aren’t Lyrics:
respond to the range of repertoire used in class https://www.youtube.com/watch?v=Y_OzM2mE_uo
repertoire used for and in the world of
listening music ● What makes something ‘popular’?
● Introduce structure in music as following a particular musical formula i.e. through

looking at Pop/Rock Song Form:
● ‘Standard’ musical structure of a pop song:

Popular Music Song Structure Keywords:
https://www.youtube.com/watch?v=oXifpcE7ewU
● Create a mind map with key words and definitions of terminology used in Pop/Rock
Song Form i.e. introduction, verse, pre-chorus, chorus, bridge, coda.
● Listen to and discuss the following videos as an introduction to ‘popular’ chord

progressions:
● The Four Chord Song by Axis of Awesome:
https://www.youtube.com/watch?v=HTYrkOZ5nCs
explore forms of
notating compositions musical notation, ● Six Chords by Benny the Jukebox:
using various forms of including computer- https://www.youtube.com/watch?v=K8hHMx5CaSI
traditional and non- based applications, as a
traditional notation method of recording ● Introduction to chord progressions and symbols (in C Major)
● Write your own chord progression based on ‘popular’ chords: I, ii, iii, IV and V
● Find four ‘popular’ songs. Work out the chord progression of a single section. Take
note that you will need to sing the song in your head in order to change the key as
opposed to playing the chord progression while the song is playing.
perform music that uses Students will need
different forms of ● Introduction to guitar chords. Students can use the infographic Introduction to Guitar access to the internet
understanding various musical notation and Chords. This should be uploaded to Edmodo or Google Classroom so that students and guitars
forms of musical technologies can zoom in and out as required. The resource Guitar Chords with Finger Positions
notation used in the would also be valuable for students.
repertoire studied
● This website will assist students with basic progressions and the chords to learn (in
order) for beginners: http://www.cyberfret.com/guitar-chords/7-basic-guitar-chords-for-
beginners/
https://drive.google.co
Lesson 9 m/drive/folders/0B2zl
ZdayEf20dlRLSGstX2
listen to and analyse a ● Listening Task: Bohemian Rhapsody (Informal Listening Task) hOc0k?usp=sharing
range of repertoire aurally exploring music
of various styles, ○ Using Notability, students will annotate a PDF of the lyrics of Bohemian
periods and genres Rhapsody, focusing on the overall structure, musical features and use of https://drive.google.co
instrumentation/sound effects m/file/d/0B2zlZdayEf2
identifying, identify how concepts Lessons 10-11 0REg5Y0hJYnZ5em8
understanding and of music have been /view?usp=sharing
describing how the used and manipulated Riffs
concepts of music have in a range of repertoire
been used and ● Watch the following video 50 Best Rock Riffs for Guitar:
manipulated http://www.youtube.com/watch?v=k0z_scQXxr8. Students will select three of their
favourite songs featured in the video. https://drive.google.co

m/drive/folders/0B2zl
● What is a riff? ZdayEf20aVJSWW44
OER3UjA?usp=shari
● Discuss the features and purpose of a riff in music. ng
● Why is it important for a riff to be a short musical idea?
● Students will listen to the three songs which they have chosen and answer the
aurally exploring music following questions:
listen to and analyse a of various styles,
range of repertoire periods and genres ○ Write the structure of the song and list the instruments which are heard in
each section.
of music have been ○ Which section/s of the song does the riff occur? How many times do you hear
identifying, used and manipulated the riff during the song?
understanding and in a range of repertoire
describing how the ○ Which instrument plays the riff during the song? Do any other instruments play
concepts of music have this riff?
been used and responding to and
manipulated discussing the varying ○ Describe the complexity of the riff.
repertoire used in class
respond to the range of and in the world of ○ Describe the complexity of the riff in relation to the roles of the other
repertoire used for music instruments.
listening
perform music through ● Students will select a minimum of three riffs from those featured in the video to learn on
singing, playing and guitar. Some riffs have been selected and notated for students.
moving to a range of
recognising the use of repertoire ● Listen to and discuss the features of popular riffs in the context of their respective
musical concepts in songs:
various repertoire ■ Sweet Child O’ Mine, Guns and Roses
characteristic of the
topics studied ■ Enter Sandman, Metallica
■ Paranoid, Black Sabbath
■ Smoke on the Water, Deep Purple Teacher can add or

substitute musical
■ Seven Nation Army, The White Stripes examples
● Students will be composing and recording their own riff using the Smart Guitar feature
experimenting and in Garageband.
improvising music ● Students should first identify the type of riff that they would like to
representative of compose i.e. power chords, finger picking, a combination etc. This
various styles, periods experiment and will be based on the earlier discussion of styles of riffs.
and genres improvise both
individually and in ● Using their knowledge of chord progressions from earlier lessons,
groups using stimulus students will first create a chord progression to accompany their riff.
notating compositions characteristic of the
using various forms of repertoire studied ● Students will then create a particular style of backbeat/rhythm
traditional and non- section.
traditional notation explore forms of
musical notation, ● Once this is complete, students will create a short riff (4-8 bars)
including computer- based on their chord progression.
method of recording Lessons 12-14
their own musical ideas Students will need
identifying, The Structural Features of Hedwig’s Theme access to
understanding and Garageband on their
describing how the identify how concepts ● Listening Task: Hedwig’s Theme (Informal Listening Task) - stop at 2 minutes iPads for this task
concepts of music have of music have been
been used and used and manipulated ● Identify the musical structure of the piece.
manipulated in a range of repertoire
● Identify the instrument which introduces the main theme. Why do you think
respond to the range of that this instrument was chosen to introduce the theme?
repertoire used for responding to and
listening discussing the varying ● Describe the shape of the main melody. Does it sound smooth/jagged?
repertoire used in class Why do you think that the composer chose this shape to represent the
and in the world of film?
music
● Describe the ways in which the main theme varies during the piece.
● Describe the ways in which the instruments changes between sections.

What is the effect of these changes?
● When the theme is played the second time by the entire horn section, m/drive/folders/0B2zl
describe what the string section is doing. Describe how the role of the ZdayEf20aDVJWnVu
strings change during this time. Q0FHSDQ?usp=shari
ng
● How many different themes are presented during the piece? Why do you
think that the theme changes?
● Describe the ways in which the second theme is different to the first
theme.
● In what ways has the composer used repetition during this piece?
● Describe the ways in which the piece is ‘tied together’ or unified.
recognising the use of ● Performance Task: Hedwig’s Theme. Students will learn how to play Hedwig’s Theme
musical concepts in perform music through on guitar.
various repertoire singing, playing and
characteristic of the moving to a range of ● Listen to and discuss the musical features of this remix of Hedwig’s Theme by Beaten
topics studied repertoire Track: https://www.youtube.com/watch?v=gfwEwNGJDzI
experimenting and ● Students will be creating a dubstep arrangement of Hedwig’s Theme. Watch the
improvising music experiment and following video to gather ideas: Harry Potter Dubstep Remix Garageband:
representative of improvise both https://www.youtube.com/watch?v=SGe9tyykgMs
various styles, periods individually and in
and genres groups using stimulus ● Students will first learn the main melody of Hedwig’s Theme using the keyboard feature
characteristic of the in Garageband. Provide students with the starting note and first interval. Assist
repertoire studied students in setting up the metronome feature to an appropriate speed and correct time
notating compositions signature. Piano sheet music found here:
using various forms of explore forms of https://musescore.com/user/1708621/scores/1323626
traditional and non- musical notation,
traditional notation including computer- ● Students will only need to play the theme once before it is manipulated to suit the
based applications, as a dubstep style.
method of recording
Lesson 15-16
listen to and analyse a Theme and Variations Form

of various styles, ● Show students the following images. Discuss the ways in which this could relate to
periods and genres music: Students will need
○ http://www.figures.com/forums/attachment.php?attachmentid=4619&d=12700 access to
identifying, identify how concepts 44397 or https://s-media-cache- Garageband on their
understanding and of music have been ak0.pinimg.com/736x/36/3c/1c/363c1cc9cb7a239032116c1236264fa6.jpg or iPads for this task
describing how the used and manipulated http://musicaldeli.iheartteachingmusic.com/images/themevariations.jpg
concepts of music have in a range of repertoire ● Watch and discuss the musical features of the following examples. Lead into a
been used and discussion about the primary features of Theme and Variations form in music:
manipulated
perform musical ● 17 Funny Versions of Jingle Bells: https://youtu.be/XGjcNVD07FQ
understanding how the compositions and
concepts of music are arrangements ● 12 Variations on Ah, vous dirai-je Mama, Mozart:
used and manipulated individually and/or in https://www.youtube.com/watch?v=l4KpBBdwKSs. Note: The following could be
in compositions and groups uploaded to Edmodo and used as a visual aid for students to document the variations
which occur during the piece: http://makingmusicfun.net/pdf/lesson_resources/twinkle-
arrangement https://drive.google.co
twinkle-changing-star.pdf
● Married Life: Carl and Ellie’s Theme from Up: ZdayEf20VjJBd0g0bjI
https://www.youtube.com/watch?v=1G371JiLJ7A 1UUE?usp=sharing
● Students learn to play the main theme from Married Life: Carl and Ellie’s Theme on
guitar
● Students will create a variation on Twinkle Twinkle Little Star on guitar.
Lesson 17
experimenting and
improvising music experiment and ● The aim of this lesson is for students to turn piece of music in Ternary form into a piece
representative of improvise both of music in Rondo form. Students will turn 'Ode to Joy' (ABA) into Rondo form (ABACA)
various styles, periods individually and in by adding a different 'C' section.
and genres groups using stimulus
characteristic of the ● Students should use the following instructions:
repertoire studied
notating compositions 1. You are only allowed to use notes from either the 'A' or 'B' sections
using various forms of explore forms of
traditional and non- musical notation, 2. Create your 'C' section by using one or more of the following ideas:
traditional notation including computer-
based applications, as a a) Switch the order of the notes i.e. play part of a section backwards
method of recording b) Create a new musical pattern using these notes
their own musical ideas c) Repeat some notes
d) Take some notes out
e) Make some notes longer
f) Make some notes shorter Students will need
access to the guitar
3. You will need to notate your new section using proper rhythms (taa, ti ti, saa, taa-aa tab for Ode to Joy
etc). Add these to your TAB. Blank TAB is attached. Save to Notability. Notate your (see Part A,
new 'C' section in this file. Assessment Pieces)
listen to and analyse a Lesson 18 and TAB paper
of various styles, ● Introduce the following infographic which outlines the stereotypical structures heard in
periods and genres different genres of music: https://www.pinterest.com/pin/383439355752192276/
identifying, identify how concepts ● Select one song from each of genres listed in the infographic. While listening to each
understanding and of music have been song, students should decide whether or not the song is true to the stereotype.
describing how the used and manipulated Students can do this in pairs.
been used and ● Students will select two of their favourite musical genres and complete a similar
manipulated infographic.
responding to and
respond to the range of discussing the varying Lesson 19
repertoire used for repertoire used in class
listening and in the world of Note: this could be completed while students are waiting to be assessed for their guitar
music performance or as an extension of the above activity.
● Select your favourite artist/group See website.

Students will need
● Give a brief history of your chosen artist/group access to the internet.
● List the members of the artist/group, describe their role and identify any key
collaborators.
● Identify the genre of the music which this artist/group performs
● Research and identify the musical characteristics of this genre. You should list at least
five characteristics.
Students will need
● List the influences of your chosen artist/group access to the internet
for this task.
● In your own words, describe how the music of the artist/group has evolved over time.
You will need to listen to early songs by the artist/group and compare them to the
present day
● You can complete this task using any format/app. Be sure to include lots of images.
aurally exploring music Lesson 20

listen to and analyse a of various styles,
range of repertoire periods and genres Note: this could be completed while students are waiting to be assessed for their guitar
performance.
of music have been Students complete an aural analysis of a rock/pop song of their choice. Guide students in writing
identifying, used and manipulated the analysis questions themselves. Students will complete this task while they are waiting to be
understanding and in a range of repertoire assessed for their guitar performance. Informal Listening Task
describing how the
concepts of music have ● Write the structure of your song. Use terms such as: Verse, Introduction, Chorus,
been used and responding to and Instrumental Solo, Outro, Bridge, Coda, Pre Chorus
manipulated discussing the varying
repertoire used in class ● Once you have written the structure of your song, list the instruments (including vocals)
respond to the range of and in the world of that you hear in each section.
repertoire used for music
listening ● Do the layers of sound (instruments) change during the song? Describe the effect of
this change/lack of change.
● What is the role of each instrument that you hear? (i.e. vocals will have the main
melody, piano may play the accompaniment etc.) Use terms such as: Main Melody, Students will need
Accompaniment (melody/harmony [chords]), Beat/Rhythm access to the internet
or a music player for
● Using adjectives, describe the sound of each instrument that you hear, including vocals this task.
(i.e. the guitar might sound distorted and metallic)
● Are there any instruments which play a repeated melody/rhythm? If so, identify the
instrument and describe what they are playing (i.e. the drums might play a repetitive
beat)
● Does the volume (dynamics) change at any point during the song? If so, identify where
and describe the effect.
● Does the speed (tempo) change at any point during the song? Describe the effect of
this change/lack of change.
● Describe the ways in which the instruments used in this song reflect the lyrics.
● Find a cover version of the song which you have selected. Identify and describe the
similarities and differences between the original and the cover version. Students should
aim to have at least 7-10 points for both similarities and differences.
TEXTURE
Lesson 21
experimenting and
improvising music Introduction to Texture
representative of experiment and
various styles, periods improvise both ● Students are to look up magnified images of the following objects: fabric, rocks, wood.
and genres individually and in Discuss what each of these objects have in common.
groups using stimulus
characteristic of the ● Create a collage of other magnified objects which also have this feature in common.
repertoire studied
creating simple ● Discuss the ways in which this activity and these common features relate to music.
compositions both
individually and in organise musical ideas ● Watch and discuss the following video as an introduction to layers of sound:
groups into simple
compositions both ● Metronomy by JUL & MAT:
individually and in https://www.youtube.com/watch?v=FqQi2EEx9QI
notating compositions groups
using various forms of ● Draw three contrasting images using various shapes. Each image will have
traditional and non- explore forms of shapes/lines layered on top of each other and will represent a different texture type
traditional notation musical notation, (monophonic, homophonic and polyphonic). Number each image. Students describe
including computer- what each image may be representing. It is not necessary to use musical terms.
based applications, as a Consider drawing the following images:
method of recording
their own musical ideas ● Monophonic: a single line; several lines all moving in the
same direction (a single melody)
● Homophonic: several different lines/shapes all moving m/drive/folders/0B2zl
together (accompaniment) with a single line moving above ZdayEf20WmFIQ0VI
(melody) MmRDVUk?usp=shar
ing
● Polyphonic: Several different lines/shapes moving in
different directions at the same time (several melodic ideas) Teacher to select
musical examples for
● Play musical examples representing each texture type. As students hear each excerpt, this task
they will draw the image using Notability. Write definitions for each texture type.
Lesson 22
listen to and analyse a Comparing Texture Types

of various styles, Density refers to the ‘thickness’ of sound created by layers in a piece of music. When describing
periods and genres density, identify the thickness in the texture overall and then in the specific sections of the piece
of music. Students brainstorm synonyms for thick and thin.
understanding and of music have been ● Watch and discuss Amazing 9 Layer Density Tower as an introduction to layer density:
describing how the used and manipulated https://www.youtube.com/watch?v=-CDkJuo_LYs
been used and ● Watch and discuss graphic examples of polyphonic music.
manipulated
responding to and ● So You Want To Write A Fugue: http://www.youtube.com/watch?v=U85-
respond to the range of discussing the varying 4EYgZk4
repertoire used for repertoire used in class
listening and in the world of ● The Fugue Explained: https://www.pinterest.com/pin/246572148324258023/
music https://drive.google.co
● Fugue 20 in A Minor, Bach: https://www.youtube.com/watch?v=VXpgIsXCrfA m/drive/folders/0B2zl
experiment and ZdayEf20UUUtWnk2
experimenting and improvise both ● Discuss some of the common features of polyphonic music i.e. staggered entry, aXV2SUk?usp=shari
improvising music individually and in imitation, call and response. Students will graphic representations of layer relationships ng
representative of groups using stimulus using Garageband. Students should be using these elements in their polyphonic
various styles, periods characteristic of the composition.
and genres repertoire studied
Lessons 23-24
Introduction to Rounds
● Commence discussion about the children’s song Row, Row, Row Your Boat. Discuss
the primary features of this song. Select students to do a live demonstration of this
song. Reinforce this information by showing students a live performance of Frere
Jacques: https://www.youtube.com/watch?v=Pa2_oWshsRM
perform musical Students will need
understanding how the compositions and ● Students describe the primary features of a round. Link to the study of texture. access to
concepts of music are arrangements Garageband on their
used and manipulated individually and/or in ● Students learn both Frere Jacques and Row, Row, Row Your Boat on guitar. Students iPads for this task
in compositions and groups record their performance as a round using the microphone function on Garageband.
arrangement The extension part of this activity requires students to get into small groups (minimum
three students) and perform this piece as a round.
Lesson 25
range of repertoire of various styles, Instrument/Vocal Roles https://drive.google.co
periods and genres m/drive/folders/0B2zl
● Introduce the concept of instrumental roles (melody, harmony, rhythm, sound effects) in ZdayEf20QkRCc0RR
identify how concepts music by watching the following videos: NnVzcGM?usp=shari
identifying, of music have been ng
understanding and used and manipulated ● 99 Red Balloons: https://www.youtube.com/watch?v=aZND9dApFKU
describing how the in a range of repertoire
concepts of music have ● Supermario Theme Song A Cappella Multitrack:
been used and https://www.youtube.com/watch?v=AVbPnDf3TIw
manipulated explore forms of
musical notation, ● Circle of Life A Capella Multitrack:
notating compositions including computer- https://www.youtube.com/watch?v=s_um4Qj4aJA
using various forms of based applications, as a

traditional and non- method of recording ● Create a Garageband cover of Smoke on the Water:
traditional notation their own musical ideas
● Instruments: drums, bass guitar, rhythm guitar, lead guitar (8 bars only) https://drive.google.co
● Change the key to G Major ZdayEf20aVhoYU5W
R0lhbnc?usp=sharing
● Tab for the lead guitar - 0 3 5 - 0 3 6 5 - 0 3 5- 3 0 0
● Tab for the bass guitar (quaver pattern) - 0 0 0 0 - 0 0 0 0 - 0 0 0 0 - 0 0 0 3
● Each instrument track will need to be recorded separately, including each part
of the drums. A standard rock beat will be used. You may wish to revisit
rhythm squares. Students will need
access to
respond to the range of Lessons 26 Garageband on their
repertoire used for responding to and iPads for this task
listening discussing the varying ● Listening Task for Texture. Teacher can select one of the listening tasks from the list
repertoire used in class below and formulate assessable questions based on student ability
and in the world of
music
Lessons 27-29
recognising the use of Applying Polyphonic Principles

musical concepts in perform music through https://drive.google.co
various repertoire singing, playing and ● Watch and discuss the musical features of The Hanging Tree from The Hunger Games: m/drive/folders/0B2zl
characteristic of the moving to a range of https://www.youtube.com/watch?v=r-Oi43EsQNU ZdayEf20cmNZVUFy
topics studied repertoire X08zeTQ?usp=sharin
● Students learn to play The Hanging Tree on guitar: https://tabs.ultimate- g
understanding how the guitar.com/m/misc_soundtrack/the_hunger_games_mockingjay_-
concepts of music are perform musical _the_hanging_tree_tab.htm
used and manipulated compositions and
in compositions and arrangements ● In groups of 2-3, students will create a short arrangement of The Hanging Tree, as a
arrangements individually and/or in live guitar performance or recorded on Garageband, applying the principles of
groups polyphonic music i.e. staggered entry, imitation, call and response.
creating simple
compositions both Lesson 30-31
individually and in organise musical ideas https://drive.google.co

groups into simple Introduction to Dynamics m/drive/folders/0B2zl
compositions both ZdayEf20REg5YW9O
individually and in ● Use the following activity as an introduction to Dynamics in music: bkRnOXM?usp=shari
groups ng
● Find an article of your choice i.e. news, sports, commentary etc. Import the
listen to and analyse a text into Notability. Highlight each sentence in a different colour - red, orange,
range of repertoire yellow, light blue, dark blue, green. These colours can be in any order. Students will need
aurally exploring music access to
of various styles, ● Put a legend up on the board i.e. red = very loud, orange = moderately loud Garageband for this
periods and genres etc. Ask selected students to read out their article using the colour coding as a task
identifying, guide to what volume their voice should be.
understanding and identify how concepts
describing how the of music have been ● Students to create dynamic flash cards using coloured paper. Listen to musical
concepts of music have used and manipulated examples which show contrasting dynamics. Students map out dynamics as they are
been used and in a range of repertoire heard. This activity could be conducted in conjunction with students mapping out the
manipulated structure using structure cards. Musical examples could include:
Students will need
respond to the range of responding to and ● It’s Oh So Quiet by Bjork access to the internet
repertoire used for discussing the varying ● Overture to the Marriage of Figaro by Mozart for this task
listening repertoire used in class ● In the Hall of the Mountain King by Grieg
and in the world of ● Bolero by Ravel
music ● Also Sprach Zarathustra by Strauss
● Symphony No. 5 (1st mvt.) by Beethoven
● The following videos could also be shown to reiterate content taught in this unit:
Provide students with
● The Muppet Show: Rowlf - Beethoven's "Pathétique" (Reprise): coloured paper
https://www.youtube.com/watch?v=t9ApIbDlk9Y
● Sesame Street - Ernie and Bert sing "Loud and Soft":
https://www.youtube.com/watch?v=oVlnLWiSGp8
● Write table of dynamic symbols and terms into books. Discuss the purpose of dynamics m/drive/folders/0B2zl
in music. Link to the other ways that interest can be created in a piece of music i.e. ZdayEf20ZnBZVm1n
expressive techniques dHNZOW8?usp=shar
ing
understanding how the perform musical ● Students select one or two of the guitar pieces which they have worked on over the
concepts of music are compositions and course of the term e.g. The Hanging Tree, Frere Jacques, Ode to Joy etc. Students will
used and manipulated arrangements upload the PDF of the TAB into Notability. Using the highlight function, students will
in compositions and individually and/or in colour code the TAB to indicate different dynamic levels. Students will perform and
arrangements groups record themselves playing their chosen piece with the adjusted dynamic levels.
listen to and analyse a ● Complete Listening Task for Dynamics and Expressive Techniques. Teacher can
range of repertoire aurally exploring music select one of the listening tasks from the list below and formulate assessable questions
of various styles, based on student ability
periods and genres
Lesson 32
understanding and of music have been Introduction to Expressive Techniques
describing how the used and manipulated Students will need
concepts of music have in a range of repertoire ● Watch and discuss the following videos as an introduction to the common expressive access to previous
been used and techniques of vocalists in different styles: guitar pieces
manipulated
responding to and ● Katy Perry, Dark Horse - Ten Second Songs 20 Style Cover:
respond to the range of discussing the varying https://www.youtube.com/watch?v=jus7S5vBJyU.
repertoire used for repertoire used in class https://drive.google.co
listening and in the world of ● The Evolution of Music by Pentatonix to show how vocal styles have m/drive/folders/0B2zl
music evolved over time: https://www.youtube.com/watch?v=lExW80sXsHs ZdayEf20emRIdWNP
ejJaODg?usp=sharin
● Kristin Chenoweth The Girl in 14G to illustrate different vocal styles: g
https://www.youtube.com/watch?v=jBJn4BHtqqY
aurally exploring music ● Vocal beatboxing: https://www.youtube.com/watch?v=LeBiXBic3sE

listen to and analyse a of various styles, https://drive.google.co
range of repertoire periods and genres ● Watch the following videos as an introduction to the expressive techniques of other m/drive/folders/0B2zl
instruments: ZdayEf20VzZ0ZXRn
identify how concepts MVh0czg?usp=sharin
of music have been ● Beatboxing flute: https://www.youtube.com/watch?v=59ZX5qdIEB0 g
identifying, used and manipulated ● Rare guitar techniques: https://www.youtube.com/watch?v=hBZxJOHTSR4
understanding and in a range of repertoire ● Watch and discuss the techniques used in Invisibility by Liza Lim:
describing how the http://vimeo.com/13411678
concepts of music have
been used and ● What is an extended technique? Discuss the purpose of extended techniques and their
manipulated function in music.
● Research task: Extended techniques
● Select one instrument

● Research how the instrument is traditionally played
● Find video evidence of at least three extended techniques for that instrument
● Write a description of how that technique is performed See link above
● Present your findings at the end of the lesson
Lesson 33
The Purpose of Music in Films

respond to the range of
repertoire used for ● Recognise famous movie themes using this quiz:
listening responding to and https://www.youtube.com/watch?v=0di9tiulb4Q
discussing the varying
repertoire used in class ● Discuss how film themes are recognised and how they relate to what the film is about Students will need
and in the world of and the character which the theme is representing. Discuss the importance of music in access to the internet
music films. for this task
● Watch the below scenes with and without music. Discuss the overall effect (with/without
music) and how the scene is impacted.
● Star Wars - The Throne Room:
● With music: https://www.youtube.com/watch?v=yixG8pfncOs

● Without music: https://www.youtube.com/watch?v=Tj-GZJhfBmI https://drive.google.co
● Jaws - Capture Scene: With and without music: ZdayEf20dlVtRGx1e
https://www.youtube.com/watch?v=Ae1Z_fWDZ7s UkyT1k?usp=sharing
respond to the range of ● Students find their own film scene/trailer. Students will mute all sounds and then this
repertoire used for responding to and trailer to a friend (preferably one who has never seen the scene/trailer before). Each
listening discussing the varying student should comment on the effectiveness of the scene/trailer with and without
repertoire used in class music. This should be done in the form of two paragraphs.
and in the world of
music Lesson 34
The Emotional Impact of Music in Films
● Watch the following film scenes and discuss the effect emotional impact of each.
Different genres of music will be with the same scene. Discuss how the overall mood of
the scene is affected as the music changes. Discuss the impact that this has on the
audience.
Students will need
● Pirates of the Caribbean - Boat Scene: access to the internet
https://www.youtube.com/watch?v=rn9V0cN4NWs for this task
● Lost In Translation:
● Scene 1: https://www.youtube.com/watch?v=8mdmXFGBqfM
● Scene 2: https://www.youtube.com/watch?v=b7yq5llId34
● Scene 3: https://www.youtube.com/watch?v=yDR15qfJW-c
● Scene 4: https://www.youtube.com/watch?v=lIZiWhAWxfM https://drive.google.co
● Star Wars Without John Williams: ZdayEf20dmpoYjVvT
https://www.youtube.com/watch?v=BmVPzlae2io WZQd0E?usp=sharin
g
● How Music Can Change the Emotion of A Scene - Fight Scene from 300:
https://www.youtube.com/watch?v=sCum3BL3ipA
notating compositions ● Students will use Smart Strings in Garageband to create different
using various forms of explore forms of emotional undertones for each scene as it is repeated. Written
traditional and non- musical notation, analysis on the effectiveness of music in different scenes.
traditional notation including computer-
method of recording
Lesson 35
listen to and analyse a ● Discuss the musical features, similarities and differences of the following trailers which
range of repertoire aurally exploring music have been recut to fit the characteristics of a particular genre: Students will need
of various styles, access to
periods and genres ● Elf Recut As A Thriller: Garageband on their
https://www.youtube.com/watch?v=EkwdYSn3Uws iPads for this task.
understanding and of music have been ● If Frozen Was A Horror Film:
describing how the used and manipulated https://www.youtube.com/watch?v=9eD2UpdhbwA
been used and ● If Zootopia Was A Horror Film:
manipulated https://www.youtube.com/watch?v=aSBP0I1bENo
responding to and
respond to the range of discussing the varying ● As an exercise, ask students to select songs of different genres to impact the emotional
repertoire used for repertoire used in class direction of the following scenes. Students must justify your reasons for selecting the https://drive.google.co
listening and in the world of piece which they choose. Students may select any genre of music to accompany the m/drive/folders/0B2zl
music ZdayEf20OEdyLTVF
scene.
ZUpOTVE?usp=shari
experiment and ng
experimenting and improvise both ● The Birds (Final Attack Sequence)
improvising music individually and in http://www.youtube.com/watch?v=Lw0FP9putKM
representative of groups using stimulus
various styles, periods characteristic of the
and genres repertoire studied
● Charlie Chaplin (The Lion’s Cage)

http://www.youtube.com/watch?v=79i84xYelZI
Students will need the
internet or access to
● The Truth About Mother (Psycho)
their own music for
https://www.youtube.com/watch?v=xWHYmNrAFlI this task
Lessons 36-37
experimenting and experiment and
improvising music improvise both ● Discussion about emotional manipulation in film scenes. Compose an underscore to
representative of individually and in accompany each of the following scenes to sway the emotional direction of the
various styles, periods groups using stimulus audience. Create a musical storyboard to accompany each scene.
and genres characteristic of the
repertoire studied ● Finding Nemo - Shark Scene:
https://www.youtube.com/watch?v=FnpJhjmSbBY
creating simple organise musical ideas
compositions both into simple ● Ice Age 1 Trailer: https://www.youtube.com/watch?v=cMfeWyVBidk
individually and in compositions both
groups individually and in ● Monsters Inc. Suspense Scene:
groups https://www.youtube.com/watch?v=07l6HgPDJn0
Lesson 38
notating compositions explore forms of https://drive.google.co
using various forms of musical notation, ● Complete Listening Task for Film Music. Teacher can select one of the listening tasks m/drive/folders/0B2zl
traditional and non- including computer- from the list below and formulate assessable questions based on student ability ZdayEf20WlVKR1hu
traditional notation based applications, as a S2R1V3c?usp=sharin
method of recording g
Lessons 39-40
Students will need
identify how concepts ● Recognise famous character theme songs using this quiz: access to
identifying, of music have been https://www.youtube.com/watch?v=NpOr3vZpQKQ Garageband for this
understanding and used and manipulated task.
describing how the in a range of repertoire ● Discuss the key personality features of film characters and discuss how these features
concepts of music have are represented musically. Give a brief introduction to leitmotifs.
been used and
manipulated responding to and https://drive.google.co
discussing the varying ● Use Garageband to create a character profile based on a friend’s personality. m/drive/folders/0B2zl
respond to the range of repertoire used in class Compose a leitmotif to suit their character. ZdayEf20STctRU5lO
repertoire used for and in the world of W5nR2M?usp=sharin
listening music g
● Students select focus characters and analyse how the concepts of music have been https://drive.google.co
used to create their ‘musical personality’. Write a character profile on the chosen figure. m/drive/folders/0B2zl
Find a scene which summarises their character. Identify the personality traits of the ZdayEf20bTI5ZlF2M
mt2bGs?usp=sharing
character based on the footage. Students create a musical profile of this character.
respond to the range of responding to and Lesson 41

repertoire used for discussing the varying
listening repertoire used in class Introduction to Foley
and in the world of
music Students will need
● Watch the following videos:
access to
Garageband for this
● The Foley Artist: Los Angeles Times: task
https://www.youtube.com/watch?v=UNvKhe2npMM
● Foley Artist Gary Hecker: https://www.youtube.com/watch?v=rpdNPsUnDqU
● Introduction to Foley and sound effects for film:

https://www.youtube.com/watch?v=_Jznye0iqYE
● Holey Foley: Sound Design at Earth Touch:

experimenting and experiment and https://www.youtube.com/watch?v=UNvKhe2npMM
improvising music improvise both https://drive.google.co
representative of individually and in ● How to create and edit Foley sound effects at home: m/drive/folders/0B2zl
various styles, periods groups using stimulus https://www.youtube.com/watch?v=oqkT9Q6iKZI (only watch up to 4’21”) ZdayEf20b181VnZ2N
and genres characteristic of the zFQTDA?usp=sharin
repertoire studied ● Using the record function on Garageband, students will create Foley sound effects g
using the following videos as stimulus: basketball, bowling, skateboarding, picking up
creating simple organise musical ideas leaves.
compositions both into simple
individually and in compositions both
Lessons 42-45
groups individually and in
groups
Foley Film Task
notating compositions explore forms of
using various forms of musical notation, ● Students will be creating a short horror film. It will be at least three minutes in length.
traditional and non- including computer- There must be no reference to violence, weapons, blood, death etc. There will be no
traditional notation based applications, as a
dialogue in your short film; the story will be told through the events which you present
method of recording
their own musical ideas on the screen and the music which is composed. Students will record all sound effects https://drive.google.co
live and include Foley techniques throughout the short film (footsteps, breathing, m/drive/folders/0B2zl
clothing sounds). Students will compose a soundtrack to accompany the events on the ZdayEf20Yy1GVzFy
screen. WjV2M3c?usp=sharin
Note: The following is suggested listening for students’ informal listening assessment. Teachers g
aurally exploring music
identifying, of various styles, can create questions based on student abilities.
understanding and periods and genres
describing how the Listening Tasks: Texture, Dynamics and Expressive Techniques and Film Music
concepts of music have identify how concepts
been used and of music have been Texture
manipulated used and manipulated
in a range of repertoire Listening Task 1: Djapana, Yothu Yindi https://youtu.be/7WLONbBcGqo
respond to the range of http://www.musicconcepts.com.au/scaffold/201103.html
repertoire used for
listening responding to and Listening Task 2: Finding Frangipanis, Jane Aubourg https://youtu.be/CuLeqnhRGo4
discussing the varying http://www.musicconcepts.com.au/scaffold/201202.html
repertoire used in class
and in the world of Listening Task 3: Balrog Boogie, Diablo Swing Orchestra (2013 Music 1 Trials)
experimenting and music
improvising music Dynamics and Expressive Techniques
representative of
various styles, periods Listening Task 1: Four Sea Interludes from Peter Grimes (2009 Music 1 Independent Trials)
and genres
Listening Task 2: Tarde (2015 Music 1 Preliminary Exam)
Listening Task 3: Nature, Elena Kats-Chernin (CSSA 2007 Trials)
Film Music
Listening Task 1: Mr Magorium’s Wonder Emporium, Main Title (2015 Music 1 Preliminary Exam)
Listening Task 2: Baby Elephant Walk, Hatari (2013 Music 1 Preliminary Exam)
Listening Task 3: Waltzing Matilda, Australia (2009 Music 1 Independent Trials)
Listening Task 4: Atonement, Atonement https://youtu.be/rihdJ_2YiaA

http://www.musicconcepts.com.au/scaffold/201002.html
Scope and Sequence:

Year 8 Music Scope and Sequence 2017
TERM 2 Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
2017
Topic Texture & Dynamics and Expressive Techniques
Key Content Texture results from the way voices and/or instruments are combined in music. Dynamics refer to the volume of
Ideas sound. Important aspects include the relative softness and loudness of sound, change of loudness (contrast), and the
emphasis on individual sounds (accent). Expressive techniques refer to the musical detail that articulates a style or
interpretation of a style.
 Identify different layers of sound and their function in music

 Discuss roles of instruments and the use of texture in various musical examples
 Recognise homophonic, monophonic and polyphonic textures in a variety of musical contexts
 Identify and discuss the role of music in films
 Identify and discuss the purpose of sound effects in films
 A range of dynamics, including gradations and articulations
 Gradations of tempo used for expressive effect, for example, rubato
 Stylistic indications
Outcomes 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10
Assessment Performance/Composition (Week 9, Term 1), Listening Task (Week 4, Term 2)
8MU101, 8MU103: Monday 27th March - 8MU102: Tuesday 28th March - 8MU104, 8MU105: Wednesday 29th March
Assessment 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.10
Outcomes
Assessment: Listening Task
Year 8 Music Assessment Task 1: Listening Test
Excerpt 1: An excerpt from Main Title from the film Out of Africa by John Williams will played FIVE
times for you to complete your answer.

1. Which instrument family has the main melody in the first section of the excerpt? (1 mark)
_________________________________________________________________________________
2. There is an instrument family which takes over the melody. Name this family. (1 mark)
_________________________________________________________________________________
3. What are the strings playing in first section of the excerpt? How is this different to what they play
in the second section? (1 mark)
_________________________________________________________________________________
_________________________________________________________________________________
4. How would you describe the overall mood of this excerpt? List three reasons why you think this.
(3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
5. How would you describe the overall speed of this excerpt? (2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
6. Do you think that the speed of the music changes during this excerpt? If so, describe what
happens. (2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
END EXCERPT 1
Excerpt 2: An excerpt from Waltzing Matilda from the film Australia by Ophelia of the Spirits will
played FIVE times for you to complete your answer.

1. Name the instrument family that plays in the introduction. (1 marks)
_________________________________________________________________________________
2. How would you describe the way the vocalist is singing during this excerpt? (2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
3. When the strings enter, what do they play? (1 mark)
_________________________________________________________________________________
_________________________________________________________________________________
4. In the first section, you will hear a vocalist with the main melody. In the second section, you will
hear a high pitched woodwind instrument. How is the first section different from the second
section of the excerpt. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
5. How do you think the composer has kept the excerpt interesting to listen to? Identify three
examples in the music to support your response. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
END EXCERPT 2
Excerpt 3: An excerpt from Toy Town from the IMAX film Imagine by Nigel Westlake will be played
SIX times for you to complete your answer.

Sixth playing - 2 minute pause
1. Use letters and numbers to identify the structure of this excerpt. (2 marks)
_________________________________________________________________________________
2. There are two instrument families which take turns at playing the main melody. Name these two
families. (1 mark)
_________________________________________________________________________________
3. Name the instruments or instrument families in the order that they appear in this excerpt.
(2 marks)
_________________________________________________________________________________
_________________________________________________________________________________
4. Can you hear any repeated parts in this excerpt? If so, describe what you hear. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
5. Identify three instruments that you can hear in this excerpt. Use three tone colour words
(adjectives) to describe the sound of each instrument. (3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
6. How would you describe the overall mood of this excerpt? List three reasons why you think this.
(3 marks)
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
END EXCERPT 3

Assignment 1

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PROGRAM

Throughout this report, recommendations have been made to improve,

This report further illustrates the implementation of contemporary teacher

Timothy Henderson 18804209

102089 Contemporary Teacher Leadership Assignment 1

Executive Summary: ................................................................................................................ 2

Objective and Context: ........................................................................................................ 2

Part A: Comparative Table of Unit Alterations: .................................................................. 4

Part B: Contextual Redesigned Program Documentation: ................................................ 10

Unit Program: .................................................................................................................... 10

Scope and Sequence: .......................................................................................................... 17

Concept Map: ..................................................................................................................... 18

Assessment: Listening Task .............................................................................................. 19

Part C: Report of Recommendations:.................................................................................. 23

Reference List: ....................................................................................................................... 27

Appendix of Original Documents: ........................................................................................ 29

Unit Program: .................................................................................................................... 29

Scope and Sequence: .......................................................................................................... 52

Assessment: Listening Task .............................................................................................. 53

Objective and Context:

Part A: Comparative Table of Unit Alterations:

Comparative Table of Unit Alterations:

concepts whilst perceiving sensitivity towards others due to In groups of 3-4

○ Each instrument track will

students should be given the opportunity in an assessment need to be recorded

Part B: Contextual Redesigned Program Documentation:

● Watch and discuss the following video as an introduction to layers of sound:

Comparing Texture Types

● Watch and discuss graphic examples of polyphonic music.

○ So You Want To Write A Fugue: http://www.youtube.com/watch?v=U85-4EYgZk4

○ Supermario Theme Song A Cappella Multitrack: https://www.youtube.com/watch?v=AVbPnDf3TIw

○ Circle of Life A Capella Multitrack: https://www.youtube.com/watch?v=s_um4Qj4aJA

○ Change the key to G Major

○ Tab for the lead guitar - 0 3 5 - 0 3 6 5 - 0 3 5- 3 0 0

○ Tab for the bass guitar (quaver pattern) - 0 0 0 0 - 0 0 0 0 - 0 0 0 0 - 0 0 0 3

Applying Polyphonic Principles https://drive.google.com/driv

Garageband for this task

● It’s Oh So Quiet by Bjork https://drive.google.com/driv

● The Muppet Show: Rowlf - Beethoven's "Pathétique" (Reprise):

formulate assessable questions based on student ability

○ Vocal beatboxing: https://www.youtube.com/watch?v=LeBiXBic3sE

○ Beatboxing flute: https://www.youtube.com/watch?v=59ZX5qdIEB0

● Group Research task: Extended techniques

The Purpose of Music in Films

● Recognise famous movie themes using this quiz: https://www.youtube.com/watch?v=0di9tiulb4Q

● Star Wars - The Throne Room:

○ With music: https://www.youtube.com/watch?v=yixG8pfncOs

● Jaws - Capture Scene: With and without music: https://www.youtube.com/watch?v=Ae1Z_fWDZ7s

○ Pirates of the Caribbean - Boat Scene: https://www.youtube.com/watch?v=rn9V0cN4NWs

○ Elf Recut As A Thriller: https://www.youtube.com/watch?v=EkwdYSn3Uws Students will need the

○ If Zootopia Was A Horror Film: https://www.youtube.com/watch?v=aSBP0I1bENo

○ The Birds (Final Attack Sequence) http://www.youtube.com/watch?v=Lw0FP9putKM

○ Charlie Chaplin (The Lion’s Cage)

○ The Truth About Mother (Psycho)

Scope and Sequence:

Year 8 Music Scope and Sequence 2017

Upon completing this unit, students will be able to:

Identify different layers of sound and their function in music

Assessment: Listening Task

Life Skills: Year 8 Music Assessment Task 1: Listening Test

Time: First playing - short pause

1. Which instrument stands out in first section of the excerpt? (1 mark)

Time: First playing - short pause